anat. israeli-american living in socal. phd student. lives on coffee.
Background Illustrations provided by: http://edison.rutgers.edu/
Reblogged from beemill  220,994 notes

thepageofhopes:

antisjwyellowfang:

Just your daily reminders:

  • Racists are a problem
  • White people are not
  • Homophobes are a problem
  • Straight people are not
  • Transphobes are a problem
  • Cis people are not
  • Sexists are a problem
  • Men are not

And most importantly,

  • Hating an innocent person solely because of their race, sexuality, or gender makes you a fucking asshole

Just some actual daily reminders:

  • All white people do racist things without being aware they are
  • All straight people do homophobic things without being aware that they are.
  • All Cis people do transphobic things without being aware that they are.
  • All men do sexist things without being aware that they are.
  • Saying things like ‘some men’, ‘some cis people’ absolves the blame of individuals and only seeks to comfort those with privilege and power.
  • When a post says ‘some X’, the X will always assume that they are not because THEY ARE NOT AWARE.

And most importantly,

  • It’s called metonymy, when anyone who is oppressed makes an exasperated statement like ‘i hate straight people’, they are substituting straight people for the concept of a system and a culture that teaches, incentives, and legitimizes homophobic acts and normalizes homophobic acts so that straight people constantly do honophobic things without realizing it and that’s really fucking annoying.

And just as important,

  • The concept of sjws dehumanizes marginalized people and categorizes them as an ‘angry and emotional’ stereotype and only adds to the oppression of marginalized people under the guise of being ‘fair’, while the only thing you are doing is cushioning privileged people from their own ignorance and privilege.
Reblogged from lostintrafficlights  2,087 notes

farhanshk:

Would like to inform you that the tear gas shells which were used on the peaceful protestors yesterday in Islamabad were made by Smith & Wesson Co. (based in Massachusetts). Those shells were made in 1991 which have expired in 1999. These expired shells are proved to be more potent which have resulted in deaths. The same shells were used in Ferguson riots a few days back and in Bahrain too to stop protestors.

yosuke-rolling-in-a-trash-can:

rainamermaid:

memewhore:

sean3116:

sixpenceee:

As someone who wants to study the human consciousness I found this very interesting.

Scott Routley was a “vegetable”. A car accident seriously injured both sides of his brain, and for 12 years, he was completely unresponsive.

Unable to speak or track people with his eyes, it seemed that Routley was unaware of his surroundings, and doctors assumed he was lost in limbo. They were wrong.

In 2012, Professor Adrian Owen decided to run tests on comatose patients like Scott Routley. Curious if some “vegetables” were actually conscious, Owen put Routley in an fMRI and told him to imagine walking through his home. Suddenly, the brain scan showed activity. Routley not only heard Owen, he was responding.

Next, the two worked out a code. Owen asked a series of “yes or no” questions, and if the answer was “yes,” Routley thought about walking around his house. If the answer was “no,” Routley thought about playing tennis.

These different actions showed activity different parts of the brain. Owen started off with easy questions like, “Is the sky blue?” However, they changed medical science when Owen asked, “Are you in pain?” and Routley answered, “No.” It was the first time a comatose patient with serious brain damage had let doctors know about his condition.

While Scott Routley is still trapped in his body, he finally has a way to reach out to the people around him. This finding has huge implications.

SOURCE

HOLY STEAMING SHITFUCKS

WHY IS EVERYONE NOT LOSING THEIR SHIT ABOUT THIS

What a fucking nightmare, just kill me.

I know a girl who was hit by a drunk driver and in that state for a year. When she woke up the first thing she did was tell off the doctor who tried to convince her mom to pull the plug. She heard *everything* while being called brain dead.

OH MY FUCK

Reblogged from nerdesq  71,551 notes

thewibbler:

jean-luc-gohard:

So apparently iCloud was hacked and pretty much every female celebrity’s nudes were leaked. I’d like to remind my followers not to post them, because they’re supposed to be private, and just because some asshole leaked them doesn’t mean you should make it worse by spreading them around.

that explains why i saw nudes of jennifer lawrence pop up. blocked it immediately b/c it’s disgusting to post someone’s nudes.

atane:

zuky:

nezua:

Flappers shaming Miley Cyrus.

Oddly enough we could say that Miley Cyrus is following solidly in the appropriative footsteps of white flappers, who in the 1920s grabbed national attention and stirred alarmism concerning the end of civilization because they partied to Black music, wore their hair short like Josephine Baker (who fled US racism to become a superstar in Europe), and imitated dance moves from Baker and other Black dancers. The famously flapperesque Charleston was lifted from the African American dance called the Juba, which had West African roots and was danced in secret in the South and the Caribbean. The dance sped up when it reached Harlem, giving birth to both tap dancing and the Broadway hit called The Charleston, which spread like wildfire from there. White people didn’t sway their hips this scandalously prior to that era, making flappers roughly equivalent to white twerkers of the Jazz Age.

This is 100% true. The period from the jazz age to the beat generation, comparatively speaking was the height of cultural appropriation of black art. The beat generation used lingo popularized by Lester Young. They then appropriated the style, dress, and lingo of bebop musicians like Charlie Parker and Dizzy Gillespie, down to the beret, glasses, and soul patch. Bebop musicians, Parker and Gillespie in particular, were the blueprint of their image. Norman Mailer wrote an essay titled “The White Negro" that tackles this phenomenon. I’m no fan of Norman Mailer, but at least he admitted that white people were stealing from blacks. He wrote it in 1957.
With regards to the flappers, apart from Josephine Baker, they also liberally borrowed from black vaudeville performers. They would copy dance moves from black performers, and then introduce it as their own. Many dances attributed to whites are from black vaudeville performers who were forced to perform on the chitlin’ circuit because of segregation and Jim Crow laws.
It really is astonishing how nothing has changed in this regard. For example, people to this day still call Benny Goodman “the king of swing”, when what he did was procure charts for arrangements from Fletcher Henderson, a black man. Goodman’s biggest hits were from Henderson. It’s amazing how much credit Goodman gets for another man’s work. Of course Goodman became “the king of swing”, while Fletcher Henderson remains a footnote in history. How a white man becomes the king of something innovated by blacks is astounding. Benny Goodman is called “the king of swing”. Paul Whiteman is called “the king of jazz”. Elvis Presley is called “the king of rock n roll”. Is Eminem the king of rap? What about Justin Timberlake and Robin Thicke with r&b? Miley is soon on her way to become “the queen of twerking”.
Anyway, apart from getting his charts from Fletcher Henderson, Benny Goodman got his ass handed to him by Chick Webb at the Savoy Ballroom when they had a battle of the bands. Goodman is often noted as being one of the few white men in the segregation era to have black men in his band, and the narrative is typically presented as if he did it out of benevolence. He did it because there was no way to get around the fact that swing music was the domain of black folks, and he poached the best black players he could find to bolster his band, and black musicians went with him because as a white man, he was able to pay them more than black bandleaders, and they wouldn’t have to deal with indignity while traveling. Many hotels refused black bands, so they often had to sleep in cars, bus terminals, or crash at the homes of hospitable blacks. A big portion of Duke Ellington’s money went towards renting out train cars and making sure his orchestra had a place to sleep while on the road because hotels often turned them down because they were black. These were issues Goodman wasn’t going to face. Black musicians certainly didn’t go with him because he was the best. Goodman even later hired Henderson to arrange and play in his band. He wasn’t doing it because he loved black people. Black people were the ones creating and innovating. Where else would he get the best charts and arrangements? Now that the smoke has cleared and the dust has settled, Goodman gets all the credit. Funny how that works.
This stuff has been going on for a long time. Miley is the 2013 version. Twerking has been around for a long time, but Miley convulses on national tv and all of a sudden, dictionary definitions of twerking are made. Definitions complete with no mention of black people, like all this happened in a vacuum. It’s history repeating itself over and over again. I see the same thing happening with afrobeat music.

atane:

zuky:

nezua:

Flappers shaming Miley Cyrus.

Oddly enough we could say that Miley Cyrus is following solidly in the appropriative footsteps of white flappers, who in the 1920s grabbed national attention and stirred alarmism concerning the end of civilization because they partied to Black music, wore their hair short like Josephine Baker (who fled US racism to become a superstar in Europe), and imitated dance moves from Baker and other Black dancers. The famously flapperesque Charleston was lifted from the African American dance called the Juba, which had West African roots and was danced in secret in the South and the Caribbean. The dance sped up when it reached Harlem, giving birth to both tap dancing and the Broadway hit called The Charleston, which spread like wildfire from there. White people didn’t sway their hips this scandalously prior to that era, making flappers roughly equivalent to white twerkers of the Jazz Age.

This is 100% true. The period from the jazz age to the beat generation, comparatively speaking was the height of cultural appropriation of black art. The beat generation used lingo popularized by Lester Young. They then appropriated the style, dress, and lingo of bebop musicians like Charlie Parker and Dizzy Gillespie, down to the beret, glasses, and soul patch. Bebop musicians, Parker and Gillespie in particular, were the blueprint of their image. Norman Mailer wrote an essay titled “The White Negro" that tackles this phenomenon. I’m no fan of Norman Mailer, but at least he admitted that white people were stealing from blacks. He wrote it in 1957.

With regards to the flappers, apart from Josephine Baker, they also liberally borrowed from black vaudeville performers. They would copy dance moves from black performers, and then introduce it as their own. Many dances attributed to whites are from black vaudeville performers who were forced to perform on the chitlin’ circuit because of segregation and Jim Crow laws.

It really is astonishing how nothing has changed in this regard. For example, people to this day still call Benny Goodman “the king of swing”, when what he did was procure charts for arrangements from Fletcher Henderson, a black man. Goodman’s biggest hits were from Henderson. It’s amazing how much credit Goodman gets for another man’s work. Of course Goodman became “the king of swing”, while Fletcher Henderson remains a footnote in history. How a white man becomes the king of something innovated by blacks is astounding. Benny Goodman is called “the king of swing”. Paul Whiteman is called “the king of jazz”. Elvis Presley is called “the king of rock n roll”. Is Eminem the king of rap? What about Justin Timberlake and Robin Thicke with r&b? Miley is soon on her way to become “the queen of twerking”.

Anyway, apart from getting his charts from Fletcher Henderson, Benny Goodman got his ass handed to him by Chick Webb at the Savoy Ballroom when they had a battle of the bands. Goodman is often noted as being one of the few white men in the segregation era to have black men in his band, and the narrative is typically presented as if he did it out of benevolence. He did it because there was no way to get around the fact that swing music was the domain of black folks, and he poached the best black players he could find to bolster his band, and black musicians went with him because as a white man, he was able to pay them more than black bandleaders, and they wouldn’t have to deal with indignity while traveling. Many hotels refused black bands, so they often had to sleep in cars, bus terminals, or crash at the homes of hospitable blacks. A big portion of Duke Ellington’s money went towards renting out train cars and making sure his orchestra had a place to sleep while on the road because hotels often turned them down because they were black. These were issues Goodman wasn’t going to face. Black musicians certainly didn’t go with him because he was the best. Goodman even later hired Henderson to arrange and play in his band. He wasn’t doing it because he loved black people. Black people were the ones creating and innovating. Where else would he get the best charts and arrangements? Now that the smoke has cleared and the dust has settled, Goodman gets all the credit. Funny how that works.

This stuff has been going on for a long time. Miley is the 2013 version. Twerking has been around for a long time, but Miley convulses on national tv and all of a sudden, dictionary definitions of twerking are made. Definitions complete with no mention of black people, like all this happened in a vacuum. It’s history repeating itself over and over again. I see the same thing happening with afrobeat music.